The Digital Music Distribution Revolution\' Fraunhofer and MP3 In 1991, Fraunhof

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The Digital Music Distribution Revolution' Fraunhofer and MP3 In 1991, Fraunhofer IIS of Germany developed an algorithm that would set in motion a revolution in how music was distributed, stored, and consumed. The algorithm (commonly referred to as a codec) allowed compression of digital audio to approximately one-tenth of its original size with minimal compromise in audible quality. The format also enabled song information such as the song title and artist to be embedded within the file. This format for compressed audio files was later dubbed MPEG-1 layer 3-a k.a. MP3. By 1995, software programs were available that enabled consumers to convert tracks from compact discs to MP3 files. This technology transformed how music could be manipulated-a song was now a file that could be kept on a hard drive, and the file was small enough to be shared over the Internet. The MP3 format became wildly popular by users sharing their music online, and software companies began releasing many variants of MP3 encoders (utilities that compress files into MP3s) and decoders (utilities that play back MP3s). Hardware manufacturers decided to cap- italize on this new trend and several hardware MP3 players began appearing on the market With the growing popularity of the file format, Fraunhofer was faced with a dilemma- should it enforce its patent on the use of the MP3 algorithm and attempt to collect royalties for its use, or should it allow users and software/hard- ware manufacturers to make free use of the algorithm, allowing the momentum of the format to build? If it was to limit the use of the algorithm, it faced the risk of established rivals such as Microsoft and Sony developing competing formats, yet if it allowed free use of the algorithm, it would be difficult to profit on its invention. Fraunhofer decided to pursue a partially open licensing approach, partnering with Thomson Multimedia as the exclusive licensing representative of MP3 patents in 1995.2 Thomson, in turn, negotiated agreements with several compa- nies including Apple, Adobe, Creative Labs, Microsoft, and many others. Such a broad base of MP3 licensees (100 by April 2001) provided consumers with easy

Explanation / Answer

Podcasting is a totally different then the recorded music. Once the podcast enables a user to listen and download the live recording which was published on radio. This type of approach it does not related with the recorded music as recorded music can be directly downloaded to the mobile as well as other devices and can we listen repeatedly even if no internet is available .The impact of podcasting is not very huge in terms of comparing it to the recorded or audio transmission is. As the podcasting availability is very limited to many regions, availability of the audio transmission using the radio waves has a very wide reach which is nothing comparable to the podcasting range.
Podcasting does not have any specific industry but radio and recorded music industry have very large investments which include the Studios and for the development of using recorded music in movies and other places.
By looking at above factors we can see that podcasting relatively hard smaller impact on the overall availability of other types of audio transmissions.

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